SATIRE is a kind of rhetorical figure, not a literary genre in Hafiz’s poetry. Hafiz’s methods of creating SATIRE are various, sophisticated, with indefinite brevity. Misunderstanding of satirical methods in his poems, some times, has brought about incorrect interpretations opposed to the poet’s intention. In this article, Hafiz’s satirical methods have been classified into 12 categories such as SATIRE through ambiguity, paradox, new and satirical interpretations of important subjects, logical fallacy, attributing opposite behaviours in to one self and so on. Hafiz’s criticized are all typical, without any names and are of two types: authorities and religious. He criticizes these characters in view of 1) moral principles and individual values 2) social damages. His SATIRE is usually modest without any disgracing words. The subjects of his SATIRE are mainly the criticism of those who object to the ideas of love and mysticism, the oppressive governors, morals and the hypocritical muslims. The form of his SATIRE is often the result of gathering together incompatible elements, adhering to the false and intentional fallacy in an elegant and secret way. This is completely compatible with "the content" of his criticism of the society with is laws and basic structures deeply opposed to each other.

SATIRE appears in the poet or writer's work only when he has a source of commitment and responsibility in his thoughts. Of course, true SATIRE, remote from its critical approach towards the related affairs, doesn't materialize and as we know criticism is itself a manifestation of commitment. In responsible and meaning-biased contemporary literature, it becomes more ethical, so it little approaches to lewd, ridicule and comic poetry and rarely integrates with them. Here, the sphere of a satirist covers the ideological, religious, political, social, moral, literary and even economical problems.The writer has tried, in this essay, to investigate the kinds of SATIRE briefly in the contemporary literature.

Undoubtedly, one of the important aspects of sustainable development in society is the use of the concept of capital in general and social capital in particular. Although the term “, capital”,is used primarily in the realm of economics, it has been increasingly accepted in the social sphere in the past two decades such that today it is recognized as one of the important components in development. On the other hand, the discovery, use, and dissemination of popular culture, with the aim of strengthening the collective and historical identities viewed as social capital and achieving sustainable development in the social realm of the country, is one of the missions and duties of cultural figures in society. In the meantime, SATIRE has a special place as a significant custom within the popular culture due to its reliance on the cultural subconscious of the people and the reproduction of moral values in accordance with the religious and national traditions. This paper has adopted a descriptive-analytical approach and library and document analysis methods to define and explain the status of social capital and to tackle the common definitions in the quip domain, its types, and mystical SATIRE as a prestigious type of SATIRE. Based on the characteristics of this SATIRE type, an attempt has been made to emphasize the importance of its social functions as a part of the mystical spiritual heritage, its importance, its theoretical dimensions, and its systematic relationship with social capital. When facing individual and social abnormalities, the mystical SATIRE (as a type of social capital) is a legacy that has tried to correct, improve, and develop culture and enhance social and religious values of the societies during the history. The ultimate goal of this article is to keep open the way of the critical reflection on the relationship between these two concepts (SATIRE and social capital) in order to reform and develop culture and promote the social and religious values of society.

Generally knowing literate language and literary texts will undermine the desire of the reader. For this reason, the prominent writers use new methods and tricks in the creation of literary texts that enhance the taste of the audience and the language of poetry. Sanai Ghaznavi is a member of this poetry group who has entered the mystical arena into sonnet and has also been widely used in Ghazal for the first time as a contradictory technique. According to Shkolovsky, art technique is "unfamiliar" with things, obscuring forms, to increase the difficulty and length of time of perception. (Scholes, 1383: 122). Jakobson considers highlighting the most important reason for Turn away from routine language, which release speech of stereotypical damage and repetition (Shamsa, 2009: 179) The same thing that the Sanai did in sonnet has led to the same result, using the highlighting of contradictory images in the form of widespread confrontations and saved the Persian sonnets from vanity; since sonnets went further from the norm and conventional. What seems to work is outstanding and art. One of the methods of alienating the word is the contradictory that causes the readers hesitate to read the text. Otherwise, easy reception of the poem's message, and the early identification of the poet (finding his purpose), brings the poem closer to the article. Due to the great work of the Sanai in the development content of the Persian sonnets, it should not be dealt with as it should and maybe. Perhaps only because his favorite sonnets are still childish and raw. For this reason, we decided to analyze Sanayi's lyrics by half a look at the structuralist theory in the contradictory field, a poet who, in the words of Said Hamidian, is a significant taboo breaking and normative. (Hamidian, 1390: 137). The questions that this research seeks to answer are what are the causes of the emergence and expansion of contradictory images in Sana'a sonnets? Also, what is the function of this rhetorical element in his lyricism and how does the poet create it? Since Sanazi Ghaznavi is the first poet who has grown extensively to sonnets, it is necessary to explore the aesthetic mechanisms of his sonnets. The purpose of this essay is to explain the paradoxical rhetorical element as one of the important structural elements of this poet's sonnets. 2-Research methodology This research uses a descriptive-analytical approach, using a library and documentary approach. In this way, the sources of contradiction are examined first, and in continue with this approach the contradiction in the Sanai poetry will be analyzed. 3-Discussion The contradictory is one of the semantic normative forms in which the poet or composer uses the combination or the verb in a manner that appears to be seemingly dispassionate and meaningless but has meaning or contemplation, or a truth The diversity and extension of contradictory in the Sanayi sonnets is such that a cultural point of view can be obtained from. Since the initiator of the sonnets, in its special sense, is Sanai, the paradoxical images of the sonnets must be based on the findings of this research, and this is an undeniable fact that the sonnets after the Sana'is have been influenced in this way of speaking. As Shafiee says: " contradictory images, in the exact sense of the word, begin with Sanai and his poetry that Mowlana has expanded the same image. " (Shafie Kadkani, 1996: 56) The duality of the nature and character of Sanai, The turmoil in the social conditions of the sixth century, the different modes of love and the duality of the basis of human thought, and the factors of this kind, can be the reasons for the contradictory application in the Sanai sonnet. The contradiction is rooted in all the intellectual and existential writings of the Sanai; there is this contradiction in his personal life, he sometimes has a shelter, sometimes homeless, sometimes barefooted, sometimes with a foot, sometimes in a mosque and sometimes in ruins. (Zarrinbub, 1376: 245). In the structure of his sonnets, this contradiction can also be seen in terms of humiliation of wisdom, respect of wisdom, respect of beloved, humiliation of beloved, ethereal beloved, terrestrial beloved, being male partner, the female partner, tends to Christianity, Christianity evasion and so on. All of these factors play role in the poet's sonnets contradictory. The Sanai uses various ways of constructing a contradictory in his sonnets. This construction sometimes appears in the form of a combination, and sometimes with a mixture of both negative and positive (denial and proof). Sometimes the poet expresses something contrary to reason in the form of contradiction, sometimes contradicting the law and in some cases contrary to custom and habit, and sometimes contradicting the material that is scientifically impossible. In this article, we will examine the Sanai's paradoxes from two perspectives: one in terms of structure and the other in terms of content. 4-Conclusion Sanai is the first Persian poet to use the contradictory in his sonnets. The frequency of this stylistic feature in the poet's poem is very high, to the extent that a culture of contradictions can be made. This rhetorical element is presented in a variety of forms in the Sanai sonnets. The paradox in poet's sonnets, in combination, in constructing a sentence, and in ethical areas, is contrary to the law, beliefs, scientific subjects, and affairs. All types of paradoxes in Sanai's sonnets have artistic and aesthetic functions, which make desertification and highlighting. The other function of the paradox in the poet's sonnets causes the language to be individualized to the extent that it results in the audience's attraction. Another contradictory performance of the poet's sonnets is that the message reaches the reader later, a point emphasized by the structuralists.

The image first comes to the mind of the reader of Naser Khosrow's poems is a very stem and sulky one as if is poems follow just one goal: expressing religious, moral and philosophical issues. However, this is just the surface and beyond this image there is another picture of him as one who possesses SATIRE despite having a rude and rough language. Coherence in his odes is so much as if a knowledgeable preacher cites an oration for some people. At the same time, the preacher adds satirical points to his speech to entertain the audience and increase the effectiveness of his speech. In this article four major groups for whom the major SATIRE in Naser Khosrow's poetical works is about are pointed out: 1-jurisprudents; 2- masses; 3- jurists; and 4) rulers. Naser Khosrow has done his best to relate various negative characteristics and deeds to his opponents and enemies through SATIRE, too. Totally more than 250 verses having SATIRE were found in his works comprising about 5% of his poetry. With this figure he cannot be considered as a satirical poet. However, he has used SATIRE in addition to other elements as a means to express his thoughts and in order to defend against the pressures and attacks of the enemies criticizing and mocking them in this way. Although he relieved himself in this way, his major aim in raising satirical issues was directing the society towards "thoughtfulness and reform.

Satirical components rise from living experiences. As a result, a dynamic literarywork mostly relies on a dynamic presentation of grief and sorrows of a society, and on the relationship between literary men and readers. Hence, a poet can be called a satirist who writes out of his experience of inequalities, abnormalities, and lack of justice in the society. Abul-Shamaghmaghin Arabic classic literature and ObeydZakani in Persian classic literature have illustrated the miseries of people's life in order to correct their societies. Despite their geographical and periodical differences, they have equally cultural and social conditions which make their poetry to have many common aspects. SATIRE in their poetry works, firstly, for the elimination of social suffering and, secondly, for the criticism of the government. This article, through an analytical-descriptive method, examines the similarities and discrepancies of social SATIRE in the twopoets.

The customary definitions of SATIRE and pleasantries in Persian literature are based on the fundamental contrast between the formal and casual speech.Although being useful in some of the cases, this contrast has enjoyed some defects such as the privilege of formal speech to the casual speech and reduction of humor and SATIRE to social, political, moral, or religious messages.This research is aimed at revealing the defects of the conventional definitions, especially about the mystical SATIRE through resorting to Bakhtin’s works, so that we can depict a great picture of mystical SATIRE which is founded on the carnival characters of language and mystical SATIRE and the extent of boundary between self and the other. In this view, we can imagine a spectrum which specifies a continuum of boundaries between “self” and “other”. Mystical SATIRE is at one end of this continuum which reveals the lowest rate of boundaries, personal SATIRE lies at the other side of that continuum, and socio-political SATIRE is in between these two states.

De'abel-el-Khozaai was one of the most prominent Shiite poets in First and Second abbasid Period Was Known from Political to Stability and known Intellectual to Multiplicity Religions. De'abel was born in Kufah hence, he was influenced by the spirit of Shiite instructions in his thought and spirit. He began to feel injustice and wrongdoing from there and went on irony and SATIRE for more than fifty years, as if he was seeking his crucifixion for a long time. His poems reflect a sense of duty and responsibility and show a sarcastic style in criticizing and dispraising the Abbasid caliphs. He dared enough to reveal corruptions of the rulers fearlessly. In a very unique and delicate way, he illustrated the corrupt government, deviation and anarchy in an agitated society.It is confirmed that De'abel's irony has no fun but social and political reformatory aims. In this article, an attempt is made to deal with Deabel's political responsibility and discuss his viewpoints. The main outcome reveals that De'abel was too daring to criticiz caliphs, viziers and other agents directly and fearlessly. Sarcasm and irony is the gist of this great poet.

Stylistics of SATIRE of Saeb is the result of the social environment in Safavid era. He is a poet and critic believer who has used humor as an effective weapon in protest and criticism of his society's anomalies. His SATIRE, from the perspective of stylistics, is mainly the result of the content and rhetoric of his poems. The criticisms of Saeb are subjective in terms of content, and his mind communicates with the horizons and the level of phenomena in order to depict the deep concepts of mind and lives. He is a critic and reformer who, with his humor, is seeking to belittle the dignity of those who are within range of his grinning. In fact, in addition to being sarcastic to the inner features of people seeks to contempt the outward appearances, His critical language is virtuous and transcendental. The most important techniques which he makes his SATIREs with are: Paradox, allegory, Paradoxical, equivocalness, poetical aetiology, quoting, metaphor and allusion. The research method is descriptive analytical. In this paper, we seek to answer the question of how much effective is the Stylistics of SATIRE of Saeb in regards with the intellectual direction and the literary level on the social anarchies?

Humor, both as a defensive mechanism and as a literary genre, expresses a desire to channel a common worrying issue or a hidden energy in a person. Humor can be divided into different categories, but in practice these categories are combined. Today, the space for publishing critical-political content without a fun and commercial role has become narrower in the popular mediums, however there are traces of criticism and political rhetoric found in this entertaining and commercial content. A common cultural base and understanding is one of the frames for humor existence so this interdimensional study concentrates on the role of culture in shaping contents and also with a communicational approach, looks into SATIRE as a carrier of various messages. In this article, with an attempt to classify, first the types of humor in cyberspace are analyzed in general and then the contents of humor and jokes that were published on social networks during the spread of Corona virus are assorted. The final effort of this research is to accumulate unconscious layers of a concentrated energy, anger or anxiety that manifests itself in the form of humorous content and jokes in cyberspace,while limiting its subject to Coronavirus and related humorous content. Typology of SATIRE content can be useful to determine conscious and subconscious concerns of the society and in this article, SATIRE of the corona virus era is analyzed as everyday political, taboo breaker, social-communicational and popular types.